ANC-NCCA Dayaw Episode 4: “Hinabing Kasaysayan ng mga Kababaihan”.

Summary

This script delves into the rich heritage of indigenous weaving, highlighting the intricate knowledge and skills passed down through generations. It emphasizes the significance of hand-woven textiles beyond their aesthetic appeal, recognizing them as a symbol of cultural pride and survival. The narrative celebrates the role of weavers as community leaders and knowledge holders, detailing the labor-intensive process from creating threads and dyes to the complex weaving techniques. It also touches on the challenges faced by weavers and the efforts to preserve and adapt these traditions for future generations, including the economic potential of weaving as a cooperative endeavor.

Takeaways

• 🌿 Indigenous people possess a deep knowledge of their land, which includes relationships with nature, songs, epics, and survival skills.
• 🎨 Hand-woven textiles are more than just designs; they represent a complex system of knowledge involving thread production, dye-making, and intricate weaving techniques.
• 🧵 Weavers, particularly in traditional societies, are not only artisans but also leaders and keepers of community knowledge, including spirituality and healing.
• 🌱 The process of weaving is physically and mentally demanding, requiring concentration, strength, and creativity to transform raw materials into intricate textiles.
• 🏺 Textiles serve various purposes, from clothing to trade goods, and are used in rituals and as symbols of prestige and social rank.
• 🏅 The government and organizations like the NCCA honor weavers for their contributions to preserving traditional weaving techniques and cultural heritage.
• 🏞️ Weaving is a sustainable and viable source of income, with cooperatives forming between weavers and entrepreneurs to create economically stable communities.
• 👵 The art of weaving is passed down through generations, with older weavers teaching younger ones, ensuring the continuation of this craft and its cultural significance.
• 🌈 Innovation is essential for the survival of weaving traditions, as weavers adapt their designs to meet modern tastes and market demands.
• 🌐 Weaving is a symbol of community strength and unity, with the interweaving of threads representing the bonds that hold communities together.

Q & A

What is the significance of the word 'daya' in the context of the indigenous people mentioned in the script?

The word 'daya' captures the pride of the indigenous people and represents their heritage, which includes their knowledge, survival skills, and connection to nature.

What is unique about hand-woven textiles in the modern era of machine manufacturing?

Hand-woven textiles are unique because they embody a system of knowledge that involves creating threads, dyeing them with natural materials, and weaving them on a loom, which requires physical strength, mental alertness, and imagination.

What roles did skilled weavers traditionally play in their communities?

Skilled weavers, often matriarchs, were sought for their counsel, knowledge of medicinal herbs, connection with the spirit world, and intuition for trade, playing vital roles in family and community life.

How does the backstrap loom used by indigenous weavers differ from modern looms?

The backstrap loom is a vertically laid-out, complex system that requires concentration, manual dexterity, and the weaver's back to provide tension, making it different from modern looms that are often mechanized and do not require the same physical engagement.

What are the challenges faced by weavers when producing hand-spun threads and organic dyes?

The challenges include the need for knowledge in agriculture, botany, and chemistry, as well as the arduous tasks of spinning threads and creating dyes from natural sources like bark and herbs.

How have the government initiatives, such as the NCCA, contributed to the preservation of weaving traditions?

Government initiatives have honored weavers who have embodied their traditions, like the Gawad Manila and Bayan, ensuring the survival of weaving practices and recognizing the cultural significance of their craft.

What is the significance of the Ibaka textile and the weavers who specialize in it?

The Ibaka textile is an exceptionally difficult fiber to produce and weave, and those who specialize in it, like the Bugaboo T, Belize, Mondaya, and Subhana, are recognized for their technical skill and artistry, preserving a unique cultural heritage.

How do weavers like Angelina Bulay use the 'Ike' technique in their weaving?

The 'Ike' technique involves tie-dying specific portions of threads to resist dyes, creating intricate patterns and designs. Weavers like Angelina Bulay use this technique to produce highly valued textiles with complex and symbolic motifs.

What are the economic implications of weaving as a cooperative effort in communities like Arevalo?

Weaving as a cooperative effort allows entrepreneurs and weavers to form business relationships, creating economically stable communities where weavers are paid by the piece for their work, thus providing a viable source of income.

How do weavers adapt traditional designs to modern tastes while maintaining cultural significance?

Weavers adapt traditional designs by incorporating modern trends and colors while preserving the essence of the traditional patterns. This balance ensures the survival of the craft by meeting market demands without losing cultural identity.

What is the symbolic meaning of the weaving process in terms of community strength and unity?

The weaving process symbolizes a closely knit community, with the interweaving of threads representing the strong bonds between individuals. The role of the mother in the weaving process is particularly significant, as it mirrors her role in maintaining the community's unity.

Outlines

00:00

🌱 The Wisdom of Indigenous Cultures

This paragraph emphasizes the deep knowledge indigenous people have developed over generations, particularly in their relationship with nature. It highlights their rich cultural heritage, such as songs, technology, and weaving, that connect them with the natural world. By learning from their traditions, we can reconnect with our roots and find direction for the future. The concept of 'daya,' symbolizing pride, is central to this message.

05:01

🧵 Master Weavers and Their Enduring Craft

This paragraph focuses on two renowned weavers, Saline C'monon and Angelina Bulay, who were recognized for their exceptional skill in producing intricate handwoven textiles. It explains the complexity of the weaving process, from preparing fibers and dyes to setting up looms. These women were not only artisans but leaders in their communities, embodying a combination of technical mastery and cultural preservation. Their contributions ensured the survival of traditional weaving techniques like 'Ikat,' a process involving the dye-resistance of threads.

10:02

🦎 Traditional Symbols in Ifugao Weaving

This section details the unique motifs in Ifugao weaving, as practiced by master weaver Angelina Bulay. Her designs incorporate symbolic representations like the lizard, rice sheaves, and mountain ranges, which hold deep meaning within Ifugao culture. The paragraph also mentions Angelina's revival of a rare textile called the 'OS spin into one' blanket, once considered lost to history, which she brought back to life with her weaving skills.

15:02

🌪 The Evolution of Weaving Traditions

This paragraph explores the ongoing evolution of weaving traditions in the Philippines. It describes how communities like those in Ilocos have adapted traditional designs to meet modern tastes and market demands, using innovative techniques and new color schemes. The narrative also touches on the role of older weavers in passing down their expertise to younger generations, ensuring that the craft continues to thrive and adapt in a rapidly changing world.

20:03

🧶 Weaving as a Community Symbol

This section reflects on weaving as a symbol of community strength and unity. It highlights how the interweaving of threads mirrors the interconnectedness of families and society, with the mother figure playing a central role. The paragraph also draws a parallel between weavers and early computer programmers, emphasizing the intuitive knowledge and skill required to produce intricate patterns. Despite challenges like war and poverty, weaving endures as a source of pride and cultural identity for many communities.

Keywords

💡Indigenous

Indigenous refers to the original inhabitants of a land or their descendants. In the context of the video, it highlights the importance of learning from these communities who have a deep-rooted connection with the land and its resources. Their knowledge and survival skills are portrayed as invaluable, and the term is used to emphasize the respect and acknowledgment of their heritage.

💡Heritage

Heritage denotes the traditions, customs, and achievements passed down from previous generations. The video underscores the significance of indigenous heritage, suggesting that by understanding and preserving it, we can find our roots and direction. It is depicted as a source of pride and identity, particularly through the weaving traditions and the knowledge of nature.

💡Weaving

Weaving is the craft of interlacing two sets of threads or yarns to create a fabric or textile. The video presents weaving as a complex art form that requires physical strength, mental alertness, and creativity. It is not just a skill but also a symbol of cultural pride and identity, with weavers being seen as leaders and keepers of traditional knowledge.

💡Backstrap Loom

A backstrap loom is a simple, portable loom used by indigenous weavers. The video describes it as a complex system that requires concentration and manual dexterity. The weaver uses their back to provide tension for the threads, showcasing the physical and mental effort involved in the weaving process. It symbolizes the intricate relationship between the weaver and their craft.

💡Dyes

Dyes in the context of the video refer to the natural pigments used to color threads, made from bark and herbs. This highlights the sustainable and traditional methods of textile production, emphasizing the weavers' deep knowledge of local flora and their ability to utilize natural resources for their craft.

💡Prestige

Prestige is mentioned in relation to the social value and rank that hand-woven textiles held within communities. The video suggests that these textiles were not only for everyday use but also signified status and were used in rituals and trade, indicating the high regard for the skill and artistry of weaving.

💡Traditional Knowledge

Traditional knowledge encompasses the accumulated wisdom and practices of indigenous communities. The video emphasizes the importance of this knowledge in various aspects of life, from agriculture and botany to spirituality and healing. It is portrayed as a vital component of cultural identity and a resource for modern society to learn from.

💡Matriarch

A matriarch is a female head or leader of a family or community. The video mentions skilled weavers as matriarchs who were sought for their counsel and knowledge. This term underscores the influential role of women in traditional societies, particularly in the context of weaving and community leadership.

💡Ike Technique

The Ike technique is a method of tie-dyeing specific portions of threads to create patterns in the woven textile. The video describes it as a complex and intricate process that requires advanced skill and knowledge. It is highlighted as a traditional method that is being preserved and passed down, showcasing the continuity of cultural practices.

💡Cooperative

A cooperative in the video refers to a business model where weavers and entrepreneurs collaborate to create economically stable communities. It illustrates a modern approach to sustaining traditional crafts by integrating them into market-oriented ventures, allowing weavers to earn a livelihood while keeping their art form alive.

💡Cultural Survival

Cultural survival is the ongoing existence and practice of a culture despite external pressures or changes. The video discusses the challenges faced by traditional weaving practices, such as war, poverty, and apathy, and how weavers endure and adapt to ensure the survival of their craft and cultural identity.

Highlights

The importance of learning from indigenous people's deep connection with nature and their survival skills.

The significance of hand-woven textiles as a complex system of knowledge involving thread production and dyeing with natural materials.

The physical and mental demands of weaving on a backstrap loom, requiring concentration, strength, and creativity.

The role of weavers as leaders in traditional societies, combining knowledge of agriculture, botany, and spirituality.

The cultural significance of textiles in rituals, trade, and as symbols of prestige and social rank.

The government's recognition of weavers through the NCCA's Gawad Manila awards, ensuring the survival of weaving traditions.

The technical skill and artistry required to produce Ibaka textiles, a difficult fiber known only to certain highland groups.

The Iike technique of tie-dying threads for weaving, creating complex and integrated textile designs.

The legacy of weavers like Deline and Saline Cameroon, whose knowledge and techniques are passed down to younger generations.

The revival of traditional weaving techniques like Iike in Highland Mindanao, once nearly extinct.

The symbolic motifs in Ifugao textiles, representing community values and the natural environment.

The economic potential of weaving as a cooperative effort, creating business relationships and stable communities.

The adaptation of traditional weaving designs to modern tastes and market demands in Ilocos.

The challenges faced by weavers in sourcing native materials, such as the difficulty in obtaining native cotton.

The significance of the kousaka design, reflecting the whirlwind's volatility and the experience of the weavers.

The role of women as the backbone of the weaving community, symbolizing the strength of family and community bonds.

The比喻 of looms as early computers and weavers as early programmers, highlighting the creativity and knowledge behind weaving.

The threats to the preservation of weaving traditions, such as war, poverty, and apathy, and the resilience of weavers in the face of these challenges.

Transcripts

there is much to be learned from people

who have lived in this land much longer

than we have a knowledge that manifests

itself not only in the relationships

with nature there are songs and epics

there technology and to Asians but in

their very survival only by being aware

of this heritage of the indigenous can

we find not only our roots but our

direction

their pride and ours captured in one

word daya

when you take a look at a piece of hand

woven textile what do you see a design a

motive a pattern in this day and age of

machine manufactured fabrics there is

much more than just an eye-catching

design to be fascinated with there is

this whole system of knowledge that

allows a woman or a man to produce his

or her own threads color these with dyes

made from bark and herbs and lay out the

warp and the weft on a backstrap loom

with an intended design that exists only

in their minds eyes there is this

physical strength and mental alertness

of Weaver's Houma sipped long and

straight as their backs provide tension

for the loom what emerges seemingly from

their very bodies are textiles there are

sources of dial our knowledge our pride

in traditional societies the craft of

eating was associated with women of

knowledge spirituality and healing

skilled Weaver's were matriarch sought

for their counsel

their knowledge of the forest and its

medicinal herbs

their connection with a world of the

spirits their intuition for trade in

short the Weaver was a female leader who

played vital roles in family and

community life the challenges of weaving

on a backstrap loom require intense

concentration long hours of

uninterrupted work mental fortitude and

yes imagination this loom is a common

instrument used by indigenous Weaver's

all over the archipelago and Southeast

Asia despite the seeming simplicity of

the vertical layout it is an amazingly

complex system that requires

concentration and manual dexterity the

Weaver must sit with her back providing

the tension that packs the warp and weft

threads together

her hands pulling up ahead all sticks

that control the layout of the design

and this is just the weeding process the

production of hand spawn threads and

organic dyes were equally arduous tasks

that required a knowledge of agriculture

botany

and chemistry as weaving was considered

a gift of the deities in many

traditional societies the weaver also

needed to be able to discern the will of

the spirits would given to the community

this precious gift the textiles produced

were not only used for dress textiles

were signifiers of prestige and social

rank within the community taken outside

they were valued trade goods that were

war turned into other communities in

rituals special textiles were used to

communicate to the spirits in death and

in birth bodies were wrapped in specific

and symbolic fabrics

the government through the initiatives

of the NCCA

has honored weavers who have embodied

the best of their traditions and

guaranteed their survival

two of these recipients of the gawad

Manila Khan and Bayan specialized in

weaving of Ibaka textiles the Ibaka

fiber is an exceptionally difficult

fiber to produce and to leave the

weaving of it is practiced by the groups

of highland mindanao the Bugaboo T

Belize mondaya subhana

and blonde

Selene c'mon on was a youngin draggable

woman

it was specialized in the dense weave

with patterns from ethnic templates

long dual i-80 bully had mastered the

production of the large-scale

traditional design suffer people in all

their dazzling complexity both women

were recognized for both their technical

skill as well as their artistry both

produced their own fibers dye doobies

according to their knowledge of herbs

and natural materials both set up their

own looms and laid out the threads both

were proponents of the iike technique of

weeding it up is the process of

tie-dying specific portions of a bunch

of threads so that the tied portions

resists any dyes when laid out for

stringing on the lunar the raw threads

look like nothing more than abstractions

but in the positive and negative

portions lie the blueprint of a textile

that when finished can only be described

as complex whole integrated

and nothing short of amazing

both women after receiving their awards

continue their dual life missions to

continue weaving and to pass on their

knowledge to younger women of their own

communities

sadly both from Deline

in Saline Cameroon have passed on but

her handiwork and their wisdom they are

in the hands of younger women

near bond away the Weaver

Angelina bully works quietly in her home

assisted by her son and daughter her

forte is Iike three days a technique

that is still very much alive in

Highland Mindanao but was almost extinct

among the Cordillera people until the

last half of the 20th century Iike

textiles for the most highly valued by

the if account of the harvest enemy

janitor and missus it otaku and you know

an unconnected Tomica happy

boomerang beside not a plastic thread a

dinner or an ahkam mother was very if a

cow a cat weaving begins with a moon to

doom or the hand rolling of the threads

in the Mumbai upstage the threads are

laid out to form the pre-work

then the most difficult stage Moomba

boon or tying the warp so that it can

resist the dice the dice used combined

salt mud and the bark and leaves of

specific trees red for example is the

product of Nara bark Tomas Oksana Malaya

after the died friends have been

air-dried they are then rewarmed and set

up on the beam

only when the warp and weft are

precisely laid out can the process of

weeding for more have all the do

the motives of Angelina's work

incorporate the symbols that

ifugao recognize the lizard a totemic

animals of ancient origin the mortars

and rice sheaves that signify bounty the

mountain ranges that make up their home

her signature masterwork though is a

reproduction of the OS spin into one the

ECOT blanket first woven but no longer

produced by the II scene I would never

biscaia this blanket was traded by the

ec9 into offical territory and became

much valued as a death shroud known as a

Canadian in Angelina's work the motifs

of a rare textile once thought vanished

now lives again

Karina LeBlanc is 14 acara

casita foggy Nagappa namah namah namah

vowel parameter my Europe data points

and recognition for Paris the journey :

sound successful man in history life

in Ilocos or in the town of hawaiian

weavers both young and old take their

own weaving traditions into the future

the spare Striped bin and better designs

of the Ilocos crescents is there for

them but your elements are being added

because the market for hand-woven

textiles from the Ilocos demands

innovation in color in texture in

fashion in a bill the term for hand

woven fabric from Ilocos mirrors

destroyed simplicity as well as the

resilience that characterized the inner

panel the new Loosed is very different

from the back strap the frame looms are

large enough to sit on and are operated

by the feet of the weaver as well as by

the hands it is known as the Beverly

Magdalena de Mayo is 91 years old she's

been weaving all her life in her

hometown of pignoli

Ilocos Norte in 2012 she was awarded the

gawad vanilla cannon by an her

outstandingly fine Abell weaving the

award was given in recognition of her

ability to produce die and weave native

cotton into in a valley

sadly she now is experiencing difficulty

in getting a good supply of native

cotton and must work with a commercial

carrier but still Nana Magdalena goes on

winning the signature weave of the

region is a pinnacle a double edged

blanket wheel the design is

characterized by an optical illusion of

vibrating spheres squares and cruci

forms the kousaka's or whirlwind design

is a been appalled variant influenced by

a neighboring thing young of Abra the

design has been likened to op art

because of the seeming vibrations and

movement that echoes the volatility of

the whirlwind and to create the

whirlwind

it takes the experienced artifact the

quiet calm of older Weaver's passing on

their visions and their knowledge to

their younger counterparts

weaving as a continuation of a tradition

as a resurgence and revival of lost

knowledge as an expression of one

sculpture

now what about weaving as a viable

source of income as a cooperative effort

that allows entrepreneurs and weavers to

work together to create business

relationships and economically stable

communities

in Arevalo alone

the signature weed is called hub loner

weavers here worked with entrepreneurs

and financiers from within their

communities to form informal

cooperatives where textures are

literally the fabric on which their

lives depended mrs. Cecilia Hassan

Villanueva is one such entrepreneur who

empowers the weavers I do not know how

to give I just manage but I am the one

making I did maybe giving them the

design the color and what item to weave

because I am the one attending to the

customers so I adjust to what my

customers like or what are they

interested like the bearings for men I

also make Oh Lord Baram

I supply them the materials they loom

and I give them the design and then once

they finish they bring it here and I pay

them by the piecework and their their

pace depends on what kind of work if it

is so intricate so they have a higher

pay

it's a simple one it depends on what

kind of item I order

for me I think we will not will not die

I am optimistic that it will go on you

know I have a weaver

she died already she told me the wing

will not stop it will continue

in Barangay taman taka in Cotabato City

by Albea one pop of inner ol weaving

talks about the practical concerns when

traditional designs must conform to

modern tastes surely a challenge that

any reading tradition must undergo to

survive we usually use the D traditional

designer but Legree mixed-income a young

Canadian latest trend Leon

Micheline in an arena mignon in adapt in

limine most of the traditional designs

Ernest did they call up one just like

this after you Cena one-on-one an

amendment designs no this this time is

no parcel on it one of the oldest design

but in the non design in friend the

polar may do not mix mushiya fabric

color for this design Marone green

golden yellow and then we have the blue

one let me show you mix colors know

which star Technica is from 1996 but

then in the commercials a bomba see we

only had that the time piston loom

Blanca male orb ladling in love with

salmon Palestinian organized Casilla way

back with more women see usually single

mothers separated mothers and then

single ladies Imam Muslim try people

coming in the sense that you are eating

organization is composed of try people

actually officers detour will me being

the founder founding president Madoka

Seattle a big animal Chris

Isana weaving is a very strong symbol

it's very good symbol of the community

because the way the threads in intersect

the wharf and the wolf law symbolize a

closely knit community and if the mud is

the mother is the woman who maintains

the sense of the material because the

family is basically mother and child

there cannot be any any stronger bond

and the mother and child connection you

will note how strong a community is

depending on the tightness of the

weavers the more micro is the

interweaving

pattern stronger the sense of community

and the more you'll find that the mother

is the one that really unites that

really burns the community

I'd like to think of the looms as the

early computers and of the weavers as

the early programmers guiding their

efforts were nothing more effective than

feminine intuition shared knowledge and

imagination

sadly other factors like war and

violence poverty and marginalization

even apathy our constant threats to the

preservation of this ancient feminine

power and yet these Weaver's endure and

continue strong women leaders survivors

proud carriers of dial our knowledge our

pride